CBS’s version of the BBC’s Ghosts has been one of my favorite shows in recent years, with the third season recently debuting.
The thing I love about the show so much is its rich cast of characters, which draws on American eras the way its predecessor did with British, which among others has a caveman in its collection, whereas we’ve got Thor, a Viking.
And gosh I love that crazy bastard.
Thor is still hilariously bloodthirsty even after a thousand years haunting the grounds of Woodstone Manor would eventually inhabit. But he’s so congenial about it!
It probably wouldn’t be fun to experience an actual Viking raid, but Thor depicts a version of the character of these Vikings that make them seem almost…normal. None of the other ghosts, much less Sam (the woman who can see them, although her husband Jay can’t, but has gotten surprisingly cool with the whole affair), really bat an eye at it, because, again, he’s as companionable as anyone.
Anyway, it’s my favorite new show in years, even if it’s technically a version of another show. It’s easy to separate the two when the casts are so different. I’ve seen some of the BBC version, and it’s enjoyable, too. But gosh I love the American version.
Well, here we are again, this time talking about some other TV shows I've watched recently, just before those other ones from last week...
Let's start with Sandman. I didn't get into the comics until about a decade ago. I know, I know, that's like twenty years later than all the cool kids, but whenever it happened I finally got there. The efforts to adapt Sandman to movie and/or TV were byzantine, but it finally happened, on Netflix, and that of course meant someone who has never had Netflix was possibly never going to see it...Until Netflix decided to release the first season on physical media. Which of course I snapped up.
For a comic book steeped in the goth culture of its time, there were probably going to be a few changes to keep it from feeling dated. So that happened. Along with about half the cast, Death is now black, and not the other most goth character in the story, but it really doesn't matter. Same character, just as awesome, and half the best episode of the season, along with Hob Gadling (a tweet referring to which went as viral as I'm likely to). Listening to Morpheus after all this time, just having a voice for the character, that's the biggest adjustment to make. Absolutely totally worth the wait. Will they really be able to adapt the whole comic? Time to tell!
Titans finished out its run, and I caught up of course on home media (the way I've watched the whole series), with its fourth season (one whole episode of which finally gave Beast Boy a proper spotlight, which owed more than a little to Grant Morrison's Animal Man), and the whole run has a very symmetrical feel to it, along with the sliding time scale of the X-Men movies as close to a true comic book experience as live action adaptations have gotten. Any regular reader of comics will know superhero team lineups come and go, and usually have a beginning and end of some kind. The show began with the Titans getting back together (some of its best early material across the first two seasons are flashbacks to the past, a whole prior lineup we get to see with some of them coming back for me, including Wonder Girl), and ends with the group going back its separate ways.
The whole series has gotten so little attention (mostly in the beginning, when observers called it "needlessly violent"), and as such will be a welcome bit of rediscovery in the years ahead. Definitely one of the hidden gems of the streaming era.
Speaking of which! All these shows I've talked about in the past few weeks have come from one streaming service or another. This last one this week is no exception. Frasier is a reboot/continuation of the classic Frasier sitcom, which itself was of course a spinoff of Cheers. Early reviews criticized the new version as lacking the depth of comic talent, specifically the actors playing Frasier's son and Nigel's son, but I find their unique characters in the general franchise to be refreshing, helping establish yet another identity for the third look at Frasier's world we've gotten to see. It's also one of those shows I'm baffled has to be relegated to streaming (Paramount+), although the broadcast chances are maybe dicey with sticking strictly to Kesley Grammer as central star (whereas Night Court had a new face to the premise, and what's now known as The Connors had a whole cast it brought back).
Anyway, this old fan loved the results, which also helped keep me visiting my Paramount+ account in the absence (a fairly rare occurrence) of new Star Trek material (not that the service doesn't have other material, too). There was a time (certainly when my working status had much different parameters, much less working hours) when I watched a flood of television programming, at least one show every night. We're not really in a golden age of network television (although I think Ghosts is a classic too many people sleep on), so I'm not missing too much, and most of what streaming offers I can reasonably catch up with as I want. I've also been watching Yellowstone (but curiously, not the streaming spinoffs). Cable (premium or otherwise) rarely has much to interest me, and much of what critics love these days is indistinguishable from what they love in film.
So I guess I can say I'm keeping up about as well as always.
Hmm. Let’s maybe get back a little more into blogging (last year is the first one I missed on this particular one since I started it back in 2002!). If I manage to keep this up, this’ll be a brief look at the highlights of what I’ve watched recently, hopefully on a weekly basis.
So this past week I finally saw the first two seasons of The Mandalorian. I’m really behind. I know this. This is a show that until a few weeks ago only existed on Disney+. Except for Paramount+ (and its predecessor CBS All Access) I haven’t really participated in the streaming future. I have spent most of my life without cable TV, too. I view it like that.
So I finally got to watch it because someone decided to release those seasons in physical media. I got them on Blu-ray, which is itself a format I didn’t participate in until the pandemic started. But I’ve been catching up on that, too. I now have dozens of movies and TV shows on these slightly smaller, smoother, more visually detailed discs. The first one I got was, and also the impetus for, GodfatherCoda: TheDeathofMichaelCorleone, the directorial reimagining of the third film in the series, an attempt to finally make it respectable.
Not really the subject of this discussion. Anyway.
I didn’t really have an urge to watch any of the Star Wars TV shows. I’m a fan of the movies. Pretty much all of them. Modern Star Wars fans and I diverge on a lot of points. They like the cartoons, RogueOne…I don’t. I knew all about the Baby Yoda phenomenon. Kind of hard to avoid. I figured that was probably good enough.
Then this opportunity arose. So I dove in. The absolute best I can say is that it’s really interesting to watch familiar Star Wars elements sort of remixed. I mean, this is clearly (unlike, say, RogueOne) Star Wars. By the second season they’re clearly leaning more heavily into the connective material.
Let’s move on.
I’ve watched every episode of Star Trek. All of them. (Prodigy now being on Netflix, this will change for the foreseeable future.) I’ve followed and enjoyed each new show to varying degrees (Prodigy least, so kind of fortuitous).
This being said, last year the best new episode in decades (since the end of Enterprise) happened, and in the series most capable of achieving the necessary episodic format to reach it. Which is to say, StrangeNew Worlds.
The episode is “Tomorrow and Tomorrow and Tomorrow” (which you might have been able to guess from the title of this post). It features a character who’s been a regular in the series from the start, a descendant of Khan, being forced in the most literal way possible, to confront her ancestry.
The whole episode is magical. La’an herself had already been a favorite of mine (as much as it pains her to think of them I love to hear her say “Gorn,” and she was by far the best element of the fantasy episode in the first season, when I truly noticed her for the first time). How she plays off Kirk, and how the episode leans into Kirk himself, interprets him (kind of how Grogu cleverly depicts Yoda’s quip to Luke all those years ago, about he could possibly be so big eating the way he did), which for a character who has existed for some sixty years and this is the third incarnation of him, that’s a special kind of breakthrough.
But yeah, it also dives deeply into Star Trek lore, by giving us a glimpse into Khan’s origins, and La’an’s continuing efforts to reconcile her lineage. The whole experience is, as I may have mentioned, perfect, for all the reasons I’ve touched on and many more besides. It’s the most richly articulated episodes in franchise history, and yeah, one of the best. I have a whole blog dedicated to the franchise, and I have painstakingly detailed the new classics as I’ve talked about all those episodes, classics in Star Trek having become harder to identify the older it’s gotten.
This one goes leagues beyond most of them. And it baffles me that nobody seems to recognize this. So I try to talk about it here and there. I just happened to watch it again, which is why I’m writing about it here now.
I’ve been a fan of Star Wars and Star Trek most of my life, so it’s always nice to know there’s still new stuff worth talking about all these many years later, past the formative material. That’s not a sentiment that gets expressed enough, not these days. I’ve tried most of my blogging experience to counteract that, so it’s fitting to reiterate the point when trying to get back into the swing of it.
I thought I'd observe the airing of the final episode of Person of Interest, which was broadcast on Tuesday night. In this era where the flashiest, or just most comfortable, programs get all the attention, Person of Interest set a new standard for network television. On the heels of hits like Alias, Lost, and Fringe, CBS acquired this latest idea from J.J. Abrams, who developed it with Jonathan Nolan, expanding on concepts Nolan had originally conceived along with brother Christopher Nolan in the blockbuster The Dark Knight. In an age of terrorism and surveillance scandals, Person of Interest explored the nuances of both in surprisingly personal ways, expanding from an initial focus on tech savant Harold Finch and his pitbull John Reese to include the likes of Root and Shaw, as well as police counterparts Carter and Fusco as they worked on the behalf of the Machine, and later against the corruption of its doppelganger Samaritan.
This was a show I was eager to watch when it debuted in the fall of 2011, which just happened to be when I lost all track of regular TV viewing. When CBS begrudgingly dumped the final season this year (I have no idea why the network became so grumpy about a show that had been one of its biggest hits in recent years), I took it as a chance to catch up and pay my respects as it concluded its story.
It never disappointed me. From the return of Shaw (following the unexpected death of Carter, Shaw's apparent demise was one of the moments that registered in the mainstream media, in part because of her budding relationship with Root) to the closing moments of the brilliantly orchestrated finale, in which the whole reason these characters were fighting was spelled out (because human lives matter, which in any other hands would have come off as a trite message indeed). This was a whole series that bucked the trend of providing easy answers about its weekly mysteries, famously giving the group clues leading them in the direction of people who could be victim or perpetrator. In an age where we've steadily lost our trust in others, Person of Interest struggled to affirm that it can still exist.
This was a 9/11 drama ten years in the making, exploring the world that resulted from the worst catastrophe of the modern era, and coming up with a hopeful message. That may not be what everyone else is saying, but that doesn't matter. Thank goodness Person of Interest did. This was a TV classic, folks.
Cleveland native Ted Mosby is really happy right now. I mean, he geeked out when LeBron came back home, and now there's a championship to celebrate. Life doesn't get much better, right?
(The preceding was brought to you by a dedicated fan of How I Met Your Mother.)
In all seriousness, congratulations to LeBron James and the Cleveland Cavaliers, celebrating Cleveland's first championship win in fifty-two years, defeating the Golden State Warriors in an epic Finals rematch, and LeBron winning with Cleveland. I'm not a huge basketball fan, only insofar as anyone mildly interested in the '90s craze will be today, but I can always appreciate a sports superstar winning the big one (unless their name is Peyton Manning).
I remain an unabashed fan of Lost, the maddeningly ambitious TV series that ran on ABC from 2004 to 2010. It's one of my favorite stories from any medium, and true highlight of my experiences to date. Entertainment Weekly recently released a special magazine detailing its favorites from the past 25 years, and in the TV section it included Lost at seventh out of twenty-five. I was a regular reader of EW for fifteen years or so, and so know full well that it was as obsessed with Lost as anyone else, possibly even moreso, possibly even using it to shape the course of the magazine's whole future. Well, maybe, but at long last it seems, after years of joining the trend of backlash that followed the controversial final episode, EW is ready to embrace Lost again. Here's its write-up:
This exotic survival saga about redemption and community started earthy and existential and finished esoteric and mystic, sparking endless discussion and frustrating some of its fans in the process. What is inarguable is that its tantalizing, labyrinthine mysteries helped change the way we watch and talk about television.
This is like a breath of fresh air for someone who never stopped loving it. Finally, the bitter years of disappointment, in which the whole thing looked like it would be whitewashed from history, seem like a memory. As someone who was astonished to find himself buried in an avalanche of praise for something he was enjoying, and being thoroughly unused to such things, this is reassuring. But it also suggests that the new praise may also suggest that all the previous love will amount to something, in the future, that will make it harder to rediscover than, say, The Prisoner, something that continually enjoys revivals precisely because it didn't have an ending, or The Fugitive, because its ending defined the whole thing. What good is a cult following if it completely collapses?
As a fan of Star Trek, I know what it's like to see something you love lay dormant for years. But the thing that keeps Star Trek coming back is that at its heart, it's relatively simple and durable in new iterations. What about Lost? Fans tend to binge-watch things that continue giving them visceral thrills. A lot of people came to Lost because they wanted to know answers, and they kept finding them in strange and unexpected places. But when they saw where it was all headed, what the last answers would be, they lost interest. The ending of Lost is the same as its beginning. At its heart, Lost is an examination of the human condition, far more demanding, and ultimately forgiving, than anything else in this moment has proven to be.
But maybe it's too demanding. Fans saw something flashy, and so came aboard for that. Do fans of old television really come back for substance? Absent from EW's list was the cathartic, short-lived Boomtown. I've never found much interest in reviving interest for that, but it remains a truly treasured memory for me. Theoretically, it'd be easier to rediscover. A lot of the key players resurfaced in Justified. And yet...?
This is the strange place in the cultural ether I always inhabit. Maybe it explains me. I don't think I'm a contrarian, but that's what I end up seeming like. I don't know. Maybe I just shouldn't worry about it. Let succeeding generations do that. I have my memories, right?
As reported in the June 8-21 edition of TV Guide, here are the top-rated (using a combination of live and delayed viewing) TV shows from the 2014-2015 season, with commentary.
1. The Big Bang Theory (CBS) Eighth season.
This is one of those popular things that's surprisingly unpopular on the Internet, mostly because the Internet is inevitably the home of people who "don't feel adequately represented" in the sitcom's depiction of geek culture. I've longed self-identified myself with geek culture, and I've loved Big Bang Theory from the start. Besides, it's one of the rare things I love that's also extremely popular.
2. NFL Sunday Night Football (NBC)
3. NCIS (CBS) Twelfth season.
Officially survived the loss of Ziva.
4. The Walking Dead (AMC) Fifth season.
Officially the geek alternative to The Big Bang Theory, by the way. I maintain that it hasn't been worth watching since the death of Shane. But at least Darryl is still around.
5. NCIS: New Orleans (CBS) First season.
This counts as vindication for Star Trek: Enterprise, by the way. Officially did not kill the career of Scott Bakula.
6. Empire (Fox) First season.
I count this as a victory in the career of Terrence Howard first and foremost.
7. NFL Thursday Night Football (CBS/NFL Network)
8. Scorpion (CBS) First season.
I think this technically counts as the procedural version of The Big Bang Theory.
9. Blue Bloods (CBS) Fifth season.
I've enjoyed this series in the past. No real idea what it's been up to lately.
10. The Blacklist (NBC) Second season.
James Spader in this particular version of creepy procedural.
11. How to Get Away with Murder (ABC) First season.
Shonda Rhymes with her newest and currently most successful series.
12. Dancing with the Stars (ABC) Nineteenth and twentieth seasons.
They just keep finding people who want to be famous who previously had other such opportunities not strictly related to dancing...
13. Madam Secretary (CBS) First season.
Political shows are periodically successful. This is one of those.
14. Criminal Minds (CBS) Tenth season.
Another show I've watched in the past.
15. The Voice (NBC)
16. The Voice (NBC) Seventh and eighth seasons.
The series that single-handedly...made Adam Levine more mainstream than he already was. Moves like Jagger!
17. Modern Family (ABC) Sixth season.
Unlike Big Bang Theory hasn't proven particularly durable.
18. NFL Monday Night Football (ESPN)
Football is big business. As if you didn't know.
19. Person of Interest (CBS) Fourth season.
I haven't been able to watch a lot of TV lately. This is the series I most regret losing track of.
20. Downton Abbey (PBS) Fifth season.
Proof that success in television these days is absolutely not restricted to the networks or premium cable.
21. Scandal (ABC) Fourth season.
The second of three Shonda Rhymes blockbusters.
22. NCIS: Los Angeles (CBS) Sixth season.
Ladies love cool James.
23. 60 Minutes (CBS) Forty-seventh season.
24. Hawaii Five-O (CBS) Fifth season.
The last time I caught it, I didn't see Scott Caan. They can't take him away!
26. The Good Wife (CBS) Sixth season.
At a certain point, doesn't the premise become entirely cancelled out?
27. Two and a Half Men (CBS) Twelfth season.
So long and thanks for all the laughs.
28. The Mentalist (CBS) Seventh season.
After the big reveal of Red John induced complete apathy, it was inevitable to learn this series was in fact about to be done.
29. Mom (CBS) Second season.
Counts as the most successful new sitcom of the past two seasons.
30. American Idol (Fox) Fourteenth season.
As if no one saw coming that the producers succeeded in killing its impact. And so it's soon to be gone. Finally.
31. Grey's Anatomy (ABC) Eleventh season.
They just killed off McDreamy. But it'll take more than that the finish off the leader of the Shonda Rhymes brand.
32. Survivor (CBS) Twenty-ninth and thirtieth seasons.
Long-time fan of this, so I can't complain. And I was happy with one (Mike) of the two most recent winners, so can't complain.
33. The Odd Couple (CBS) First season.
Some people hate remakes. Some people have no concept that the whole history of mankind is littered with remakes. This one is pretty good.
34. Elementary (CBS) Third season.
Haven't watched it in a while but support it in general. Because, Lucy Liu.
35. CSI (CBS) Fifteenth season.
Just announced as finally being put to pasture.
36. CSI: Cyber (CBS) First season.
But don't worry, this will still be around.
37. Chicago Fire (NBC) Third season.
Inexplicably the lead in a whole franchise.
38. American Idol (Fox)
The fact that they kept up two nights all that time is kind of the reason...
39. Stalker (CBS) First season.
Was actually cancelled. They cancelled Maggie Q???
40. Chicago P.D. (NBC) Second season.
The second in the Chicago franchise. Inexplicably does not feature CM Punk at all.
41. Law & Order: SVU (NBC) Sixteenth season.
Listen, I'm happy this is the one that ended up lasting. But even I wonder why it still exists.
42. Mike & Molly (CBS) Fifth season.
The fact that Melissa McCarthy is so popular at the box office but nonexistent in a TV series she's been doing simultaneously...Mike & Molly, you're doing something horribly wrong. How is it that you still haven't figured that out???
43. The Bachelor (ABC) Nineteenth season.
Women like to watch.
44. Gotham (Fox) First season.
The most successful of a generous helping of superhero TV series.
45. Game of Thrones (HBO) Fifth season.
Hey, this is the season that features Alexander Siddig, right? I might actually have to care about this series for a change...
46. 2 Broke Girls (CBS) Fourth season.
I love this show's snark.
47. The Middle (ABC) Sixth season.
I don't think it can be stressed enough how unfortunate it is that someone actually thought a sanitized version of Malcolm in the Middle was a good idea.
48. black-ish (ABC) First season.
I hope this series is decent.
49. Once Upon a Time (ABC) Fourth season.
So, bringing in Frozen did not make it a ratings juggernaut after all...
50. The Goldbergs (ABC) Second season.
If you love the '80s...
It's worth noting that the series I most want to catch up with at some point is the CW's The Flash, which is a TV show I never thought could possibly happen, not only a second attempt for DC's scarlet speedster (after a similarly genius but short-lived version from a quarter-century earlier), but one that acknowledges that earlier series, does superheroes directly and without apologies, and shamelessly evokes familiar comic book material.
And Yahoo! just helped Community conclude a six season run, and that was a pleasure to see unfold among those expanded outlets that are also incredibly popular these days.
If Harry Shearer really is done with The Simpsons I can think of two things that might or should happen as a result. Here they are:
1) Don't recast the characters he helped make iconic. I mean seriously, the voice cast on The Simpsons is as iconic as anything else about the show, and it's been the same since the very beginning. You could do mimics, or change the voices of all Shearer's character entirely...The better, the best option is to retire those characters. The Simpsons is known for its sprawling cast. It hasn't added many new characters in years, and even if it doesn't now, it could easily survive a trimming. Part of the reason so many fans think, have thought for years that the show has been stale, stagnant, is that nothing has changed for years. Every time something does change, it comes off as a publicity stunt. Think of this as an opportunity to prove everyone wrong, once and for all. I mean, South Park survived losing Chef (even though he was probably the best thing about it). Shearer doesn't even voice any of the main characters. And The Simpsons already survived losing its best voice actor, Phil Hartman, and retired his characters, right? If worst come to worst, simply bring on Kelsey Grammer full-time. That would be a challenge. But it could also be the Sylar-ing of Sideshow Bob. I think I could live with that, though.
2) This is a sign that The Simpsons is finally winding down. Finally losing one of the iconic voice actors, after incredibly keeping all of them for twenty-six seasons, is already historic. But if they've lost one, chances are becoming better that they will lose more. And as I've already suggested, The Simpsons is nothing if not its voice cast plus everything else. Emphasis on voice cast. The show will end. I'm not saying this because I'm gleeful about the prospect. But it is inevitable. And now we have a better idea of how it will happen. And it seems pretty obvious now, doesn't it?
Decades before Peter Jackson, Nimoy makes Bilbo Baggins cool.
In the best episode of The Big Bang Theory, Penny gives Sheldon the ultimate gift. And it's not what she thinks.
Joining the mythology of Fringe as Walter Bishop's former partner in science, William Bell, Nimoy ended up playing a crucial role in the series despite only a handful of appearances.
And of course he was Spock as well.
As the saying goes, live long and prosper, in our memories...
Debuted in MASH: A Novel About Three Army Doctors(1968)
After more than a decade of Alan Alda's portrayal in the classic sitcom, it might need reminding that "Hawkeye" didn't even debut in the 1970 movie (played by Donald Sutherland), but in the pages of the Richard Hooker book. Thanks to the show, however, the character became arguably the iconic voice of 20th century war weariness, although equally an anti-authoritarian prankster and womanizer. Since Alda, it's become difficult to think of the good doctor in any other context, but the history alone has primed the character for further exploits, perhaps even centered squarely on him (which has already happened for his pal "Trapper" John, by the way). As the obvious leader of an ensemble, he always stood out anyway, and would likely do so all over again should he remain in that context.
via Comic Vine
9. Rooster Cogburn
Debuted in: True Grit (1968)
After the Coens adapted the book a second time, everyone had a chance to remember that this character debuted in a novel by Charles Portis, not the John Wayne film adaptation from a year later. Yet the Civil War veteran's significance in Wayne's own history stands tall, not just for the fact that it earned him his Oscar, but remains one of the few names of any character fans will be able to remember with little effort, a fact that helped lead to a rare sequel, the eponymous 1975 film. That helps distinguish Cogburn as the most iconic fictional cowboy of the 20th century, when the archetype experienced a renaissance. But it may perhaps be more notable still that the focus isn't even on Cogburn himself, but the young girl he helps find justice.
via Entertainment Weekly
8. Sarah Connor
Debuted in: The Terminator (1984)
The biggest surprise of the testosterone-heavy '80s action movies era is that its biggest icon is a woman, the mother of the hero. Sarah Connor's significance increased still more in the sequel, Judgment Day, when she has to prove she isn't crazy (a theme shared by many fictional female icons, including one on this list, and Ellen Ripley), and the later Sarah Connor Chronicles TV series. Before her son John could grow up to defeat the robotic uprising, Sarah not only had to survive attempts on her own life, but protect them both in further harrowing attacks from the future. Oh, and make time to romance the guy who happens to be the father. But you don't see him getting his own TV show, do you?
via Empire Online
7. Hannibal Lecter
Debuted in: Red Dragon (1981)
"Hannibal the Cannibal" is a true 20th century monster, who needed only a handful of minutes of portrayal by Anthony Hopkins in the 1991 film Silence of the Lambs to become ingrained in popular culture. The creation of novelist Thomas Harris, who wrote four books, all of them adapted into film, based on the character, Lecter debuted onscreen in the 1986 thriller Manhunter, later remade after its namesake, Red Dragon. Recently revived all over again for television, Lecter's strange combination of cultural refinement and abject sadism is a stark update of the monster archetype, a symbol of the continuing obsession with serial killers, and is perhaps assured greater longevity in his original form than either "Hawkeye" Pierce or Rooster Cogburn, proving all over again the endurance of the written word.
via Oz and Ends
6. Dorothy Gale
Debuted in: The Wonderful Wizard of Oz (1900)
The lost little Kansas girl who introduced us to Oz is the oldest character on the list, the L. Frank Baum whose legacy grew substantially with the huge success of Judy Garland's portrayal in 1939's film adaptation, which wasn't even, in fact not nearly, the first such attempt. Dorothy appears in thirteen of Baum's original fourteen novels, not always as the lead. She made a return to the big screen in 1985's Return to Oz, which was controversial in the sense that she was no longer portrayed by Garland, she didn't sing, and yes, like Sarah Connor later, had ended up being considered crazy. Zooey Deschanel plays a contemporary version of Dorothy, "D.G.," in the 2007 TV miniseries Tin Man. A classic literary orphan figure, Dorothy's defeat of the Wicked Witch has lately begun to be overshadowed by the Wicked Witch herself, starting with Gregory Maguire's 1995 book Wicked, whose popularity increased when it was adapted to stage. For now, however, Dorothy remains the most popular Oz figure.
via Genius
5. Tarzan
Debuted in: Tarzan of the Apes (1912)
Edgar Rice Burroughs first published Tarzan's debut in the pulp All-Story Magazine, then two years later on its own. Hollywood quickly and wildly embraced the character, a prototypical civilized man in an uncivilized world. A number of TV adaptations have also appeared, and among recent film appearances are 1984's live action Greystoke and Disney's animated version. It's worth noting that comic books have any number of characters inspired by Tarzan, from Ka-Zar to Sheena to Kraven the Hunter.
via Hollywood Reporter
4. Zorro
Debuted in: All-Story Weekly #2 (1919)
Another icon to emerge from the pulps is Johnston McCulley's creation, who like Tarzan has long been a favorite of Hollywood. A direct precursor to the idea of the superhero, much like the earlier Scarlet Pimpernel, Zorro is as much known for his mask as the man beneath it, an aristocrat who scoffs at the vigilante's adventures in his personal time. Clearly an inspiration for another character on the list, and in fact some versions literally an element of their origin, Zorro continues to be revived periodically, recently in the pages of comic books, which have curiously tended to leave him behind. Also of note is Isabel Allende's 2005 fictional revival, which took the character in more of a literary direction.
via The Plumber 702
3. Spock
Debuted in: "Where No Man Has Gone Before" (1966)
The lone holdover between the two pilots commissioned for the original Star Trek ("The Cage" was later spliced into the two-part "The Menagerie"), Spock is the iconic alien of the 20th century, and he looks very much human, doesn't he? A true representation of both our fears and hopes in that regard, Spock is a much-cherished colleague and friend who nonetheless still encounters xenophobic hostility. His cultural norms, and the ways he practices them, set Spock apart as much as his pointed ears. Spock quickly leaped ahead of Kirk, the intended lead character of what would become a whole franchise, a point emphasized in the 2009 reboot when the only returning actor, Leonard Nimoy, appeared alongside his successor in the role.
via Alpha Coders
2. Batman
Debuted in: Detective Comics #27 (1939)
In a century dominated by superheroes, which is a phenomenon we see continue at the movies today, there remains none more iconic than Batman, created by Bill Finger and Bob Kane, a character that has weathered numerous interpretations, from the self-deprecating Adam West portrayal in the 1960s TV series to the brooding Christopher Nolan cinematic vision epitomized by 2008's The Dark Knight, as well as a constant surge of comic books from such creators as Alan Moore, Frank Miller, and Grant Morrison, all of whom converged in the late '80s to explore his past, present, and even future.
via Today
1. Darth Vader
Debuted in: Star Wars (1977)
It's rare that the villain so decisively outshines the hero, but that's exactly what Darth Vader did from the start. In George Lucas's original vision, Vader as he's known now is nowhere to be found, but his screen debut proved immediately compelling, and the twist ending of The Empire Strikes Back created the opportunity to change the saga forever, which is what happened in a separate series of films as Anakin Skywalker's transformation from naive recruit to tragic figure and finally villain is explored in detail. A new kind of fictional icon that forever changed the landscape around him, Vader's is the story of a true antihero, whose improbable redemption comes in the form of a son who refuses to give up on him.
10. Zaphod Beeblebrox
Debuted in: Hitchhiker's Guide to the Galaxy: The Primary Phase - Fit the Second (1978)
Douglas Adams made a huge impact on pop culture across radio, literature, television, and film with his creation of The Hitchhiker's Guide to the Galaxy. Out of all the memorable characters to populate what became best known for the original five books (Hitchhikers; The Restaurant at the End of the Universe; Life, the Universe, and Everything; So Long, and Thanks for all the Fish; Mostly Harmless), choosing the obnoxious Galactic President Zaphod seems like the best choice for an era filled with politicians most people would rather forget. Later featured in a spin-off short story (Young Zaphod Plays It Safe), this parody is so spot-on that the longer H2G2 endures the more likely that future iterations will gravitate more in Zaphod's direction, whenever someone has the opportunity to follow-up on Eoin Colfer's headstart (And Another Thing...). In the 2005 Hollywood version of Hitchhikers, Sam Rockwell offers an amusing taste of things to come.
via Comic Vine
9. Judge Dredd
Debuted in: 2000 AD No. 2 (1977)
This iconic British creation is actually an American character, part of a future filled with a version of law enforcement that reflects its bleak landscape. A reliable comic book presence that has crossed over from his country of origin to series published by DC and IDW in the United States, Dredd has also been the subject of two films (1995's Judge Dredd and 2012's Dredd). Dredd's endurance over the years belies a relatively low profile compared to other creations on this list, but with his continued appearances makes a bigger and bigger statement to long-term viability.
via Comic Vine
8. Dream
Debuted in: Sandman #1 (1989)
Neil Gaiman's version of a classic comic book superhero quickly became a full-blown literary phenomenon, helping launch DC's Vertigo line and establishing Gaiman's later widespread success. The original seventy-five issues of the series gave way to much-celebrated returns in the pages of Endless Nights and The Dream Hunters, as well as the current Overture. Joseph Gordon-Levitt is currently working on the character's big screen debut. Dream's sister Death, who became the quintessential Goth Girl, is another reason this one continues to endure in pop culture. Dream is also known as Morpheus, and represents one of the more philosophical creations from any culture in the past hundred years.
via Wired
7. Gollum
Debuted in: The Hobbit (1937)
It's safe to say that J.R.R. Tolkien, like Douglas Adams, is responsible for more than one memorable character, but Gollum in particular skyrocketed in the popular consciousness after Peter Jackson's depiction of him in his adaptations of The Lord of the Rings, particularly thanks to the much-acclaimed motion-capture performance of Andy Serkis. A portrait of abject corruption, Gollum is surprisingly one of the more nuanced characters on this list, a conflicted individual who sometimes literally argues with himself over doing the right thing. His first appearance, however, depicted a still more complicated version, as a playful Sphinx figure who delights in riddles. Not bad for someone who embodies obsession...
via Narnia Wikia
6. Aslan
Debuted in: The Lion, the Witch, and the Wardrobe (1950)
Well, unlike Adams and Tolkien, C.S. Lewis probably knew exactly which character from his books outshone the rest. That would be the eponymous lion, Aslan, who leads the Pevensie kids and later groups of Narnia heroes to eventual victory in The Last Battle. Various screen adaptations led to Liam Neeson voicing him starting with 2005's Lion. Lewis plainly used Aslan as a religious allegory, but you don't need to care about the symbolism to know that his brutal murder in Lion is the most affecting scene of the series and one of the defining moments for any character on this list.
via Broadway
5. Mary Poppins
Debuted in: Mary Poppins (1934)
The star of eight books (Poppins, Mary Poppins Comes Back, Mary Poppins Opens the Door, Mary Poppins in the Park, Mary Poppins From A to Z, Mary Poppins in the Kitchen, Mary Poppins in Cherry Tree Lane, and Mary Poppins and the House Next Door) was popular before the 1964 film, but chances are she endures most because of the film. The torturous journey from book to film was the subject of the 2013 movie Saving Mr. Banks, in which a battle of wills is pitched between creator P.L. Travers and Walt Disney. Mary may be reflective of how others from the list may age as the years advance, but she's a remarkable entirely of her own accord, a modern fairy tale creation about the transformative potential in both kids and adults.
via Audioboom
4. Doctor Who
Debuted in: Doctor Who: An Unearthly Child (1963)
The Doctor's significance has increased in recent years as he becomes more and important as the most significant British TV character around the world. It doesn't hurt that after fifty years he remains one of the most unique fictional creations to emerge from anywhere, who has survived more than a dozen portrayals (including an unofficial one in the form of Peter Cushing from 1965's Doctor Who and the Daleks and 1966's Daleks - Invasion Earth: 2150) without skipping a beat thanks to a built-in explanation concerning regeneration. In recent years Doctor Who has even had a number of spin-offs (Torchwood and The Sarah Jane Adventures). It might also be noted that Douglas Adams first envisioned H2G2 as a story of the Doctor.
via NPR
3. James Bond
Debuted in: Casino Royale (1953)
Ian Fleming created a prototypical spy in his fourteen books, but he likely had no idea how big 007 would become after Sean Connery appeared as the character for the first time in 1962's Dr. No. Bond had previously been adapted to screen in a 1954 TV version of Royale, which was also adapted in one of several noncanonical films, with David Niven's portrayal in 1967 and later again with the reboot films starring Daniel Craig. Various authors have continued the literary exploits, but Bond, James Bond has become one of the most significant film characters ever, arguably the single most important one.
via Today
2. Peter Pan
Debuted in: The Little White Bird (1902)
The oldest character on this list had a complicated path to full-blown exposure. Author J.M. Barrie adapted his creation for the stage in 1904's Peter Pan, or the Boy Who Wouldn't Grow Up, and then back into literature for 1911's Peter and Wendy. Yet his legacy kept building. Disney included him in its series of animated films with 1953's Peter Pan, a modern live adaptation was made in 2003, Spielberg created his version of a sequel with 1991's Hook, and Barrie's own story was told in 2004's Finding Neverland. Dave Barry and Ridley Pearson have a series of books that take an alternate look at the mythology that were later adapted to stage as Peter and the Starcatcher. 2006's Peter Pan in Scarlet was officially commissioned by the Great Ormond Street Hospital, which received the copyright from Barrie in 1929. The Doctor, Bond, and Peter all serve as unique insights into modern England, how its countrymen view themselves. Notably, they're all isolated figures who can count on the support of others, but most often exist in isolation, surely a statement on the post-empire era.
via Geek Tyrant
1. Harry Potter
Debuted in: Harry Potter and the Philosopher's Stone (1997)
Is it too early? Does Mary Poppins offer an example of what early fame can lead to, without the intervention of other media? Except Harry has already leaped into the adaptation phase, and led the whole modern thrust for franchises at the box office. By the time of 2004's Harry Potter and the Goblet of Fire, J.K. Rowling's creation had become a global phenomenon, a series of books that children of all ages eagerly embraced. Harry's world includes the sum of every other character on this list (the Doctor himself is a space-age wizard), an orphan figure on a massive quest against evil and general acceptance, who navigates a story filled with every imaginable obstacle, dirty politicians, self-centered jerks, secret agents, committed allies, and nurturing support that otherwise keeps him learning his own lessons. Since 2007's Harry Potter and the Deathly Hallows, Rowling has insisted she won't write anymore Harry Potter adventures themselves (echoing the most significant British character of a century earlier, Sherlock Holmes), though she has since written additional stories around him. Like Star Wars before him, Harry is a perfect representation of what it takes to dominate pop culture, make an impact early and make it stick. Will kids still read the books as eagerly as they did a decade ago, will the films last? The further careers of Daniel Radcliffe and Emma Watson may be one indication. Yet in time, there will be other adaptations, and if history is any proof, Rowling won't stay away from Harry forever, whatever that ultimately means, whether additional short looks as she's done lately, or more books...Harry is a statement on tradition, the present, and a cautionary tale for the future. Countless imitators and competitors sprang up in his wake, yet none of them have captured the sheer breadth of his achievements to date. As with the others on this list, this is a story that continues. And that's what it's all about.
Tonight marks the final episode of The Late Late Show with Craig Ferguson, and I for one am pretty sad about that.
I mean, who else in the history of late night television ever had a robot for a co-star? Good ol' mohawked Geoff, I think I'll miss you most of all.
But seriously, Ferguson always looked like he was having a blast, and his enthusiasm was contagious. Jimmy Fallon knows how to have a good time, and Conan O'Brien is a master of the absurd, but the rowdy Scot who once penned a memoir entitled American on Purpose, was perennially unheralded but always great, in an era of hosts clearly aware of tradition and usually overly constrained by it. Ferguson always played fast and loose.
I sometimes talk about what I've been watching. It's been a while. Let's do a little of that again. Here's a survey of what was happening last night:
At 8 I gave Arrow another shot. This is a show I'm supposed to like. Everyone says so. But every time I give it a try, I actually kind of hate it. It's a soap opera. I realize Smallville was pretty much exactly like this, but it did a much better job at casting and...general execution. This was a repeat, anyway. There was an ad promoting the Arrow episodes that served as a prelude for the upcoming Flash, which seems like and hopefully is a show that will do everything right that Arrow does wrong. These episodes will play the week before Flash premieres. I might watch them, but I've officially given up on Arrow.
At 9 I caught the second episode of New Girl's new season. I missed the first one last week. My track record with the show is terrible, but I'm hopelessly in love with Zooey Deschanel (which can be dangerous), so I try and catch it, and I do like it a lot. I don't know that I love it, but you can't have everything. By the time Jess figured out Schmidt's dating advice was terrible (she was really desperate), the episode starting feeling like classic New Girl, while everyone else was participating in the B-story PSA about drugs (which was kind of weird, but at least Winston gets to continue being awesome and hilariously completely isolated from even the new black guy they added last season).
I was flipping to Agents of S.H.I.E.L.D. every now and then, too. It was the season premiere. Adrian Pasdar was in it, but I think he realized at some point that like everyone in New Girl he's made some hilarious miscalculations. Like Arrow, I've pretty much come to the conclusion that Agents, at least for me, is irredeemably terrible.
There was also the Red Sox playing on NESN (New England Sports Network for those who...don't live in New England). The first time I checked out what they were up to, they were actually ahead 1-0. Clay Buchholz was having a pretty good game. (This has not been a very good season for Clay, or the Red Sox in general. They've been making their own series of hilarious miscalculations. Although a month or two back I was seriously depressed about it.) But then inexplicably, Clay was kept in one inning too long (this has happened at far worse moments for Boston, at least), the Rays scored five runs, the Red Sox lost again, what can you say?
At least the Angels are doing well. Best team in baseball this season. Mike Trout's had a third consecutive standout season. Albert Pujols has generally rebounded after a bad previous season. And the A's are doing well, although less well since dealing Yoenis Cespedes to the Sox (and taking Jon Lester in return; stupid, stupid Sox, rooting up the whole pitching staff "because we'll definitely fix that in the off-season"). They will probably still make the play-offs. The Cardinals will be in the play-offs, too, over in the National League. Overall, with three out of my four teams doing well, a pretty good baseball season this year.
At 10 I gave Forever a shot for about a minute. I was intrigued. But it's basically exactly like Elementary. So I probably won't be watching that again. Then switched to the season premiere of Person of Interest, another show I don't watch regularly enough. But I do love this one. It seems like Finch has gotten over his crisis of faith. That's good. The show is even suggesting there's going to be a big reward for following it every season, which places it squarely back in the territory of classic J.J. Abrams, such as Alias, Lost, and Fringe. (I won't argue the point about Lost, but I know for most fans the series finale alone seems to have completely undone its reputation. Congratulations on that, people.) Likely, this season will serve a good portion of that payoff, so it'll be interesting to continue watching it, as long as I can figure out how to catch it regularly again.
Tonight is Survivor's season premiere! It's another "blood versus water"/"loved ones" season, but unlike the last time with all-new casting. I don't make too fine a point on it, but I've loved Survivor since it premiered in 2000. So tonight will be a good night!
In the late '90s, a decade flush in Star Trek, Majel Roddenberry helped bring a few of her late husband Gene's aborted projects to television. The first of these efforts was Earth: Final Conflict, sort of V without lizards.
Kevin Kilner, as William Boone, was the original series lead, replaced by Robert Leeshock, as Liam Kinkaid, in the second season, succeeded by Jayne Heitmeyer, as Renee Palmer (who debuted in the third season), in the fifth season. Others who appeared as series regulars throughout the five-year run from 1997 to 2002 included Lisa Howard (Lili Marquette), Richard Chevolleau (Augur), Leni Parker (Da'an), David Hemblen (Jonathan Doors), Anita La Selva (Zo'or), Melinda Deines (Street), Guylaine St-Onge (Juda), and Alan Van Sprang (Howlyn). This constantly shifting cast line-up was a source of frustration for fans, but realistically reflected the volatile nature of the Resistance's efforts to thwart to an alien invasion that seemed on the surface to be totally benevolent. Fortunes changed all the time.
My favorite character was Ronald Sandoval (Von Flores), who appeared throughout the series. He dies a punk, but embodies the best of Earth: Final Conflict's instincts. A few of the following episodes unabashedly feature Sandoval's unexpectedly nuanced role at its most dynamic, plus a few key developments otherwise:
1. "Sandoval's Run" (1x12)
Prior to this episode, as with most of the series, you may be forgiven to assume Sandoval is merely a stooge for the Taelons, the so-called Companions, helping to carry out their secret agenda. Except he's as much victim as anyone. Thanks to the CVI implant all Protectors receive (along with the Skrill weapon!), he's the opposite of what he'd otherwise be like (a parallel dimension seen in the second season episode "Dimensions" helps confirm this, where Sandoval is definitely one of the good guys). Turns out his is a tragic story, worse than Boone's experiences from the pilot.
2. "Gauntlet" (2x11)
Expanding the mythology of the series by explaining who the Jaridians are and their relationship to the Taelons, this one hints at how the series ends.
3. "Crossfire" (2x22)
The end of the second season sees Jonathan Doors' bid to become President explode in his face as he clashes with his son and the Resistance seems to come to a tragic end.
4. "Thicker than Blood" (3x6)
Liam Kinkaid's surprising link to Sandoval is exposed to his allies, who find it difficult to reconcile, especially when it means they probably ought to save the dude's life, too.
5. "Atonement" (4x17)
Sandoval's great bid for redemption on his own terms is probably his greatest moment as a character. Unfortunately it's all downhill from here.
6. "Boone's Awakening" (5x5)
As the title suggests, Boone returns, appearing for the first time since the first season finale, in a moment that helps explain the strange new circumstances for the final season, in which the Taelons and Jaridians have merged back together and become something worse.
7. "Final Conflict" (5x22)
The final episode of the series, in which Renee Palmer and Liam Kinkaid finally get to embrace humanity's destiny in space.
In the late '90s, probably flush in what was a decade saturated in Star Trek, Majel Roddenberry helped bring two of her late husband Gene's other projects to television. The first was Earth: Final Conflict, which was very similar to V. The second was Andromeda, which was part of a TV space opera boom that decade that included Babylon 5 and Farscape. Come to think of it, Andromeda was kind of a mix between those two. It was an attempt to create an alternative to Star Trek saturated with wild sci-fi concepts heavily steeped in an ambitious mythology.
Fans tended to think of Andromeda in two ways: 1) it was developed by Star Trek: Deep Space Nine writer Robert Hewitt Wolfe and 2) it starred Kevin Sorbo. A few years after the launch of Andromeda, another Star Trek alumni, Ron Moore, launched a very different kind of space opera in Battlestar Galactica. Wolfe left Andromeda, famously, partway through the second season, taking with him any sense of creative integrity, at least as far as the fans were concerned. Left behind was Sorbo, who had made his name previously in Hercules: The Legendary Journeys, which at some point had become better known as the series where Xena: Warrior Princess came from.
Long story short, Andromeda grew to have a poor reputation. It's another thing I love that very few others do. Here are seven episodes that showcase the series at its best:
First episode of the series, establishes the Systems Commonwealth and its fall from betrayal by the Nietzscheans as represented by Dylan Hunt (Sorbo) and his first officer and best friend, Rhade (Steve Bacic, who was far from done with Andromeda despite his character dying this episode). The second hour, "An Affirming Flame," sets up the salvage crew who round out the rest of the cast and how Dylan hopes to revive the Commonwealth after being stuck in a black hole for three hundred years.
The episode where everything changes. Wolfe's final episode. Rev Bem (Brent Stait) departs as a series regular. Harper (Gordon Michael Woolvett) finally loses the nasty Magog larvae he picked up at the start of the season. Trance (Laura Bertram) switches from purple to gold, loses tail. The prime example of just how wild the series could be with its science fiction.
3. "Immaculate Perception" (second season)
via Andromeda Wikia
Probably the favorite character of just about every fan was Tyr Anasazi (Keith Hamilton Cobb, whom Jason Momoa can probably thank for his whole career). Tyr was Dylan Hunt's constant rival, the consummate Nietzschean, incredibly cool, you name it. When the decision was made to switch focus more heavily on Dylan, every fan assumed this would be at the expense of Tyr most of all. His great arc begins with this episode, however, after the switch, as he conceives a son destined to be the messiah of his people (and genetic reincarnation of Drago Museveni , a name so awesome I could not pass up the opportunity to put in this series recap) and suddenly his loyalties, always reluctantly in Dylan's favor, shift. The best character in his best episode.
The great Tony Todd guest-stars in this episode that features the Andromeda version of Star Trek.
5. "The Unconquerable Man" (third season)
via Veehd
Is that Rhade, the dead Nietzschean, again? Indeed! This is before his genetic reincarnation, introduced in "Home Fires" a season earlier, becomes a regular in the fourth season. That means this is the original, in an alternate life where he's the one, not Dylan, who survived the fight in "Under the Night." Andromeda frequently meditated on fate, but this is certainly one of its more interesting efforts in that regard.
6. "Shadows Cast by a Final Salute" (third season)
Although he returns for a handful of appearances in the fourth season (to be killed off), Tyr's farewell must be considered the highlight of Andromeda's stream of ambitious season finales. This is the man bowing out on his own terms, switching allegiances but getting fond farewells from everyone anyway.
7. "The Heart of the Journey, Parts One and Two" (fifth season)
The series finale, in which everything is resolved, including the Seefra System tangle, Trance's true nature and ultimate role, the fate of the Commonwealth. Typically, Andromeda goes out big.
I haven't even mentioned Beka (Lisa Ryder), Rommie! (Lexa Doig), or Doyle (Brandy Ledford), three more strong ladies, or Beka's Uncle Sid (John de Lancie), or any number of exceptional elements or moments from the series. If anyone ever made a movie out of Andromeda, I think more people would understand how awesome it really was.
I've just finished S. from J.J. Abrams and Doug Dorst. Put simply, it's amazing. Put less simply, it's kind of the answer to all the questions you ever had about a J.J. Abrams project.
The project you ought to keep in mind, if you ever read it yourself, is Lost. You know, that mesmerizing, confounding puzzle of a TV show that fans alternately love and hate. There're so many elements to S. that it seems a rank injustice to single out only a few, but a lot of them seem tailor-made to anyone still trying to figure out what happened on that mysterious island. It's the answer to what's inside that mystery box that seems to be at the heart of every Abrams story.
And it actually helps put Abrams into better context than ever. I started ticking off all the associations I could easily make: Christopher Nolan, M. Night Shyamalan, Orson Welles, Frank Miller, Dean Motter, J.K. Rowling, Grant Morrison. All his stories involve people trying to sort out the vagaries of identity while pushing up against powers much more frightening than they ever wanted to confront.
Getting back to Lost, however, and how S. offers such rich parallels, it reminds me all over again how drastically the series changed after its third season, the one the fans hated so much it forced a course-correction and abbreviated run of only three more years. The third season is the one where the fans thought things started to drag, become less inspired, more predictable. But I never really saw that. The opening suite of episodes are especially electric. Jack, Sawyer, and Kate are being held captive by the Others. Finally, we're finding out what the enemy actually looks like. And other than Jack's initial predicament...it's pretty mundane, actually. It plays out a lot like the action in S., in which an amnesiac man finds himself thrust into a war of attrition between two sides who operate below the public radar, both completely convinced about the legitimacy of their actions and committed to eliminating the other. He keeps ending up on the same boat, and struggles to connect with the woman of his dreams. Just from the first moment we meet Jack in Lost, you can begin to see parallels.
The whole book is like that. The approach, however, delves deeper. It speaks to what Abrams might have thought as fans followed Lost's developments, whether in the series itself or the ephemera that gave secret clues about what lay ahead, such as the earliest references to the Dharma Initiative. And just what did the mysterious organization turn out to be? That's what the third season was headed toward, the same one where Jacob was referenced for the first time, who would eventually embody the war of black and white pieces Locke shows Walt from backgammon all the way at the beginning.
The moment the series acknowledged the wishes of the fans, I think Abrams felt it was the moment to give the series over to his collaborators. The shift is so obvious, the approach altered in ways more profound than the length of seasons. It becomes a lot more mythologized. By the end of the series, the fans, who had become aware that they could affect the shape of the Mystery Box, felt it was appropriate to be disappointed when they realized the answers they thought they wanted didn't materialize. And who is to blame? The fans. They scared off Charles Widmore. The Dharma Initiative that showed up in the fifth season was as ineffectual as Widmore's role in the sixth. I daresay both would have been far different with Abrams still steering the course.
None of this is to say I personally was disappointed with the series. Abrams has explored the same story over and over, from Alias to Fringe to Person of Interest, the last of these most successful at hiding in plain sight the Mystery Box. The Smoke Monster had different permutations, too, in Super 8 and Cowboys & Aliens. Once Upon a Time took a different approach to the same fantastic lives ordinary people experience when they encounter open the box. Abrams (and the creators who will be forever linked to Lost) likes characters with daddy issues, surrogate families, and conspiracy theories. I think all these things come to their best form in Fringe. Fans can pick their favorite.
S. is a way of affirming that Abrams can be a genre all to himself. You can enjoy the book on its own merits, for its own accomplishments. You can approach it by way of Lost (and come to different conclusions if you like). But I think you'll enjoy it, one way or another. It's ambitious. It's a way of approaching Abrams as a pure storyteller, someone who clearly enjoys what he does, no matter his motives or proclivities or the demands he asks of his audience. That he asks anything at all has always been one of my favorite things about him, the moment the name "Milo Rambaldi" was uttered for the first time. I like a challenge in my entertainment, and Abrams is one creator always game to provide one. I'm glad his efforts exist in book form now.
I love Lost. Lost was immensely popular even though it routinely baffled its fans. The only thing that stains its memory now is that in its conclusion, Lost managed to remain true to that trend. More people seem to think that it never really explained everything and therefore ends up being unsatisfying than those who think it did and therefore remains immensely satisfying.
So here I am making another attempt to clarify matters. I've always believed it was the characters and not the elements around them that define Lost. I mean, I thought that was always pretty clear. It was their journeys that gave meaning to anything that happened. But the characters also explain those sticky elements, too, and so here I will try to explain the series by explaining the characters, and how they define those elements better than it sometimes seems.
Jack (see also: Hurley, Michael, Mr. Eko, Claire) This is the lead character of the series. He's also someone who believes he's forever defined by a tragic past that he's always interpreted as being his fault, but it really wasn't, and so he's spent his life torturing himself, never forgiving himself, and needing redemption for it. Isn't that the whole series in a nutshell? Jack's father was always hard on him, claimed his son just "didn't have what it takes." As the lead character and most obviously heroic of the series, is that how you would describe Jack? As someone who had no idea what to do? Right from the start, right after the crash, he's the one who sets out to rescue everyone. His mirror opposite, Ana Lucia, ended up with a far different fate for her camp of survivors because she couldn't do the same. And who could? His journey on the island and even off the island, his decision to return to it, are not really about the island itself, but his continuing inability to let go. If his father was right about anything, it's Jack's need to continue pressing the issue when it seems like he should just walk away. He doesn't walk away from the Others, when he becomes their prisoner. He doesn't walk away from Juliet. He doesn't walk away from the island. He doesn't walk away from Jacob. There's always unfinished business, at least in Jack's mind, something to fix. Usually when he tries to hard to fix something, he ends up breaking it again. And that's the whole thing about the island, too, isn't it? The Others were only there to protect it. That's why Jack's father makes such a compelling and early and appropriate manifestation of the island (or the Smoke Monster, if you will). Even though Jack tends to break things he fixes, he's far closer to the final mend than anyone else.
Kate (see also: Sawyer, Sun) Jack's perfect accomplice also punished herself the most out of anyone. She always believed in herself, but she also constantly punished herself. Every time she had a good thing, she let it slip away. It's the whole reason the island had to wait so long to find another protector, because no one had enough confidence in themselves to just do what had to be done, to stop questioning everything. Kate was pretty heroic. She's one of the few characters who when considered in full would probably make for a pretty easy villain in any other context, but when given her shot at redemption, looks exactly like a hero. She never understood the point of the island, either. She only went back out of a sense of guilt, something she thought she owed someone. If you want a character who represents that disappointment fans have in Lost, Kate's your girl. Her life was constantly disappointing her, but in large part because she kept letting it, kept provoking it, even if she never thought she was. She couldn't let go.
Locke (see also: Walt, Aaron, Man in Black, Boone) The character, I think, who most ends up disappointed fans is Locke, who early on seemed like the one with the most to gain and who had gained the most. But then he gave us a perfect illustration of what kept happening to prevent a happy ending. He was never satisfied. He always wanted more. Even when he had far more than he could have hoped for, he wanted more. He tempted fate, just like Kate, just like Jack, but the key difference is he was always told he was special. Instead of being happy with that, he kept pushing the envelope. When you push the envelop, you sometimes end up tearing it. That's what happened with Locke, and with everyone else (even the whole Dharma Initiative) who thought they had it all figured out but were constantly surprised to learn they didn't.
Desmond (see also: Jin, Juliet) Here's the character those frustrated fans ought to value a little more. Desmond's the one whose story ultimately transcended the series, whose defining moment had nothing to do with the mysteries of the island, but a personal triumph that was in no way negated by his further adventures. His was a love story, filled with magic. He's the one that shows what's possible when you don't obsess over what can be done but rather what needs to be done, overcoming every seemingly insurmountable obstacle along the way. Needless to say, but he's always been a favorite character of mine.
Jacob (see also: Daniel) Even though Jacob is the important figure of the whole story, it's not really about him, and so it's entirely appropriate that it takes so long to meet him. Events eclipse him, even though without him they would never have happened. He's the embodiment of the maguffin, which is not to say he's ultimately pointless, but that if you don't worry so much about the great mysteries of the island, you see that they're really just another of the series of human woes that the series is really about. That dazzling light, those incredible properties, that's just something he protected, which is to say the ability of the island to force people to be honest with themselves, to find peace. The island is not a magical wonderland. It's a horror movie. Peace is far more difficult to find than you'd think, even with an island imbued with everything you need to achieve it. What would happen if the rest of the world had equal access to it? Just ask Jacob. He believes in the island, but he also needs to protect it. What more do you need to know?
Ben (see also: Sayid, Shannon, Ana Lucia) A character who never asked for trouble, but trouble keeps finding him. Basically, the human condition for all the cynics, the opposite of Desmond (appropriately, they both represent the last vestiges of the Dharma Initiative). After a while, even if Ben is not really a villain, even he begins to see himself that way, believes he deserves all the bad things that happen to him. And so he continues to plot and calculate, thinking there's no point in trying to avoid his fate anymore. Perhaps the greatest beneficiary of the alternate character studies from the final season. Because before that, who would have believed that the erstwhile Henry Gale could actually be redeemed?
Richard (see also: Charlie, Rousseau) Richard Alpert was one of the more fanciful and therefore instantly charismatic additions to the series, seemingly integral but always peripheral. No doubt he saw all these properties in himself as well. He was, in the end, the embodiment of the human connection we all crave but frequently fail to make, sometimes quite spectacularly, the necessary bonds that formed in the very first episode and remained strong despite every obstacle to the very end, cutting through every other element. Even polar bears.
